August 2025: January 27 января — May 19
Subject: L&T
Course Level: 100
Number of Credits: 0 U.S. / 0 ECTS
Max Enrollment: 22
Schedule: Mon, Wed 17:50 – 19:10 CET (Berlin) | 11:50 AM – 1:10 PM EDT (New York)
Distribution Area: Practicing Arts 
Language of Instruction: English
Course Prerequisites: English B2 / Equivalent or higher

The genre of diary film has been gaining momentum in recent years. Being present in many written forms for a long time, diaries in cinema started their history only in the post-WWII period with the flourishment of avant-garde experimental poetic filmmaking and accessibility of image-making technology (mainly 16mm and super8, and later – with video). Since then, film diaries/diary films have developed into a separate genre in cinema, however remaining in its experimental and avant-garde realm.This course is a semi-practical seminar dedicated to film diary/diary film: its history, theory, and practice. Here, diary filmmaking is intertwined with two other distant but yet related concepts, methods, and aesthetic forms. One of them is a queer commentary, where, as Lauren Berlant and Michael Warner formulate, practice, theory, and lived experiences of “being in the world with others” are amalgamated and inseparable from one another. Berlant and Warner propose “queer commentary” as a model for engaging with and conceptualizing social reality, and looking for diverse aesthetic forms to express it. The second concept the diary film is intertwined with is the concept of “refunctioned auto\ethnography,” proposed by Craig Gingrich-Philbrook. It explores the aesthetic and epistemic potentialities of the auto\ethnographic method. In social science, auto\ethnography is a research method that uses personal experience (“auto”) to imagine and provide possible interpretations (“graphy”) of cultural texts, experiences, beliefs, and practices (“ethno”). It gives a stage to forms of storytelling where political and ethical positioning is placed at the center and keeps a researcher accountable for her* research intentions, framework, and methods. It’s a method and a form to create and co-create collective imagination connecting dots between the personal, the political, the social, and the aesthetics. And as in the case of diary filmmaking, performing this connection in, with, through, and as a poetic diary film.During the course, we will watch, analyze, and discuss films and videos that fall under the different categories of “film diaries,” “diary films,” “film essays/commentaries” and “[auto\]ethnographic films.” We will read the texts of the above-mentioned authors and others who are interested in epistemic, ethical, and aesthetic potentialities of [cinematic] auto\ethnography and [queer] storytelling.  Moreover, we will make our own diary films and short videos trying to put together bits and pieces, scraps, and traces of our everyday life into a refunctioned cinematic poetic form Malinovskaya, Sergey Zavyalov, etc. The course also includes creative work, aimed at interdisciplinary and poetic work with documents.